The Works of Lord Byron | Page 2

the wondering admiration of Goethe and Lamartine and Sir Walter Scott touch or lay hold of the more adventurous reader of the present day? It is certain that even the half-forgotten works of a great and still popular poet, which have left their mark on the creative imagination of the poets and playwrights of three quarters of a century, will always be studied by the few from motives of curiosity, or for purposes of reference; but it is improbable, though not impossible, that in the revolution of taste and sentiment, moribund or extinct poetry will be born again into the land of the living. Poetry which has never had its day, such as Blake's _Songs of Innocence_, the _Lyrical Ballads_, or Fitzgerald's _Omar Khayy��m_, may come, in due time, to be recognized at its full worth; but it is a harder matter for a poem which has lost its vogue to recapture the interest and enthusiasm of the many.
Byron is only an instance in point. Bygone poetry has little or no attraction for modern readers. This poem or that drama may be referred to, and occasionally examined in the interests of general culture, or in support of a particular belief or line of conduct, as a classical or quasi-scriptural authority; but, with the rarest exceptions, plays and narrative poems are not read spontaneously or with any genuine satisfaction or delight. An old-world poem which will not yield up its secret to the idle _reader_ "of an empty day" is more or less "rudely dismissed," without even a show of favour or hospitality.
And yet these forgotten works of the imagination are full of hidden treasures! There is not one of Byron's "impressionist studies" of striking episodes of history or historical legend, flung, as it were, with a "Take it or leave it" in the face of friend or foe, which does not transform names and shadows into persons and substance, which does not contain lines and passages of unquestionable beauty and distinction.
But some would have it that Byron's plays, as a whole, are dull and uninspiring, monotonous harpings on worn-out themes, which every one has mastered or wishes to forget. A close study of the text, together with some knowledge of the subject as it presented itself to the author and arrested _his_ attention, may compel these impatient critics to a different conclusion. Byron did not scruple to refer the reader to his "sources," and was at pains to publish, in the notes and appendices to his dramas and poems, long extracts from old chronicles, from Plutarch's _Lives_, from French and Italian histories, which he had read himself, and, as he fondly believed, would be read by others, who were willing to submit themselves to his guidance. He expected his readers to take some trouble and to display some intelligence.
Poetry is successful only so far as it is intelligible. To a clear cry an answer comes, but not to a muffled call. The reader who comes within speaking distance of his author can hear him, and to bring the living within speaking distance of the dead, the living must know the facts, and understand the ideas which informed and inspired the dead. Thought and attention are scarcely to be reckoned among necromantic arts, but thought and knowledge "can make these bones live," and stand upon their feet, if they do not leap and sing.
I desire to renew my acknowledgments of the generous assistance of the officials of the British Museum, and, more especially, of Mr. Ernest Wallis Budge, Litt.D., M.A., _Keeper of Egyptian and Assyrian Antiquities_; of Mr. Leonard W. King, M.A., of the same department; and of Mr. George F. Barwick, _Superintendent of the Reading Room_.
To Dr. Garnett, C.B., I am greatly indebted for invaluable hints and suggestions with regard to the interpretation of some obscure passages in _The Age of Bronze_ and other parts of the volume, and for reading the proofs of the "Introduction" and "Note to the Introduction to _Werner_."
I have also to acknowledge the assistance and advice of Mr. W. Hale White, and of my friend Mr. Frank E. Taylor, of Chertsey.
For assistance during the preparation of the volume, and more especially in the revision of proofs, I desire to express my cordial thanks to Mr. John Murray.
ERNEST HARTLEY COLERIDGE.
_December_ 3, 1901.
CONTENTS OF VOL. V
Preface to Vol. V. of the Poems v
SARDANAPALUS: A TRAGEDY.
Introduction to _Sardanapalus_ 3
Dedication